本文分析馬來西亞著名女作家黎紫書的最新長篇小說《告別的年代》的兩大特點：「小寫歷史」與後設書寫。筆者認為，《告別的年代》將1969年發生在馬來西亞的五一三事件作為馬來西亞華人新的家族史的開端，以「小寫歷史」的方式的方式挑戰傳統的歷史宏觀敘述，展現了作者理解馬華歷史的獨特視角。文中以互文、後設的方式使得作品中懷舊與遊戲的情緒互相交織，以顯示出對於身份追尋、歷史意義的不可得或者說更加開放性的解釋。但是這種互文、後設的寫作技巧在文中大量使用也帶來了一定弊端，使得五一三事件之後的歷史存在感被虛構化與戲謔化，從而模糊了作者「小寫歷史」的歷史觀點和立場。最後，通過分析黎紫書作品的讀者群導致的她在馬華文學中的特殊性，筆者認為黎紫書在華語語系文學中不完全算是個「邊緣作家」，《告別的年代》中「被放逐」、「被遺忘」的焦慮感與其說是來自於馬華文學相對於中國大陸文學所產生的邊緣感，不如將其放在馬來西亞文學複系統下，將其看做馬華文學相對於馬來文書寫的馬來西亞國家文學而產生的邊緣之感。

This paper discusses the novel "Gaobie de niandai" ("The Era that we has said goodbye"), written by Li Zishu, the famous female writer of Malaysia Chinese Literature. It analyses two characteristics in this novel: mini-narrative and metafiction. The novel chooses the 513 violent accident in Malaysia in 1969 as the beginning of a new Malaysian Chinese family history and uses mini-narrative to challenge the traditional grand narration of Malaysian Chinese history. This shows the author's unique perspective of understanding the change of Malaysian Chinese after 1969. Meanwhile, this novel uses the rhetoric of metafiction so as to constantly interrupt the nostalgia feeling established through mini-narrative about that period of history. It shows the impossibility of finding one's identity and the truth of history. But such deconstruction also makes the author's standpoint of that era become ambivalent. Finally, this paper also discusses Li Zishu's position in Sinophone literature and believes that she is not a marginalized writer. Therefore, the feeling of being marginalized found in her novel should be examined under the system of Malaysian literature rather than under the system of Sinophone literature.